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Date: | Tue, 18 May 1999 16:43:28 -0700 |
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Here's a conflict and the resolution:
Kent Nagano's Berkeley Symphony presents a concert version of Philippe
Manoury's opera `60th Parallel' in Zellerbach Hall at 8 p.m., Wednesday,
June 9.
Why does that date sound familiar? Because it's the opening of Cycle I of
the San Francisco Opera's `Ring.' Darn.
The solution? Attend the dress rehearsal of the Manoury opera at 7:30 p.m.
on June 8. Unlike SFO's `no critics/no invited guests' policy for the
dress, Judith Whitney -- the BSO executive director -- is actually
*inviting* people.
For those not in the Theatre du Chatelet two years ago, here's the
information about `60th Parallel' (also from Ms. Whitney):
`The production includes full orchestra, nine singers and computer
generated music. The opera is based on a simple story: people are
waiting in an airport on the 60th parallel. They cannot leave because
it is snowing outside. No one knows when the storm will be over.
Within this group are a war criminal - someone who wants to capture
him - two women completely lost, one of whom is secretly in love with
the other; and an old man preparing a speech on Einstein's brain -
a group of people who have no reason to be in the same place at the
same time.
`The libretto was written by Manoury; the French writer Michel Deutsch;
and stage director Pierre Strosser.
`At the heart of the computer environment for the opera is a graphic
object-oriented music language known as "Max," developed by Miller
Puckett, currently of UC San Diego, when he worked at IRCAM in Paris.
Since the original production of 60th Parallel, Mr. Puckett has
created three relatively compatible dialects of "Max." This environment
permits musicians with no programming experience to process musical
gesture (MIDI) as well a sound (DSP). For example, Mr. Manoury
often uses a type of sound synthesis that closely resembles the human
voice. This can appear as a shimmering synthetic choir, a ghostly
counterpoint voice, or even a bass line. A musician following the
conductor can control the parameters in real-time. Indeed, an
important part of rehearsal is the rehearsing of the electronic parts
with corrections by the conductor.
`The result is spectacular: a seemingly effortless integration of
computer music techniques and operatic traditions that moves beyond
merely technological achievement and into the realm of art.'
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